{"id":35072,"date":"2024-11-01T11:42:22","date_gmt":"2024-11-01T09:42:22","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=35072"},"modified":"2024-11-02T10:29:38","modified_gmt":"2024-11-02T08:29:38","slug":"editorial-animal-truths","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/editorial-animal-truths\/","title":{"rendered":"Editorial: Animal Truths"},"content":{"rendered":"
Talking lions, ducks, gazelles, traveling cats, magical dogs, and giraffes \u2014 welcome to the wonderful world of TMR\u2019s animal issue.<\/span><\/h5>\n

 <\/p>\n

Malu Halasa<\/h4>\n

 <\/p>\n

Sometimes the stories of animals can express human truths more viscerally than a straightforward account of people suffering. For instance, the lions of Baghdad and the tragedy of the 2003 US-led invasion of Iraq were the subjects of the graphic novel, <\/span>The Pride of Baghdad<\/span><\/i>. Despite the fact that the lions had spent their whole lives in an Iraqi zoo, they didn\u2019t speak Arabic \u2014 unlike the lions in \u201cMureen\/Lion School,\u201d the 2016 Mesopotamian-inspired artwork-relief by this issue\u2019s featured artist, Lin May Saeed<\/a> (1973\u20132023). Iraq was the country of Saeed\u2019s father. The sculptor who grew up in Germany also didn\u2019t speak Arabic. However, as TMR\u2019s art critic Arie Amaya-Akkermans writes, Saeed was \u201cnot interested in human metaphors or in the archaeological imagination of the past per se, but in a more transtemporal, transformational, intersectional gesture. [Her work] is about turning upside down the utilitarian hierarchies of social relations that fashioned the world into the binary of human and animal.\u201d<\/span><\/p>\n

In the Anthropocene epoch of rapid climate change, increasing numbers of animals, birds, and fish are on the precipice of extinction. This has made human research into animal cognition all the more prescient. New studies show that the ordinary crow can recognize the faces of people. These incredibly intelligent birds don\u2019t forget, hold grudges, and repeatedly dive-bomb people who have harmed them. Recently, philosopher of animal minds <\/span>Susana Mons\u00f3<\/span><\/a> has spoken about orcas, which like elephants, have an understanding of death and mourn their dead offspring.\u00a0<\/span><\/p>\n

The November issue of The Markaz Review, themed on animals, deliberately eschews the binary relationship between the proverbial \u201cman and beast.\u201d The artwork, art criticism, prison and family memoirs, travel writing, fiction, essays, and poetry featured here go beyond the politics of the eating, exploitation, and abuse of animals to reach a new level of understanding. And in many instances, it is inspirational.<\/span><\/p>\n

Manus Island<\/h4>\n

The Kurdish Iranian author Behrouz Boochani escaped from Iran on a small boat and arrived in Australia, only to be imprisoned in one of the country\u2019s notorious offshore detention centers. During his six years in the Manus Island Regional Processing Centre (MIRCP) on a remote island of Papua New Guinea, he and others endured untold levels of hardship, fear, and starvation. There, he met 43-year-old Mansour Shoushtari, someone the journalist and author of <\/span>No Friend but the Mountains<\/span><\/i>, describes as \u201cThe Man Who Loves Ducks.\u201d<\/a> Shoushtari was known to feed the scraps of the little food he was given to the island\u2019s crabs and feral dogs. He didn\u2019t have a bad word for anyone, even the Australian minister responsible for his and Boochani\u2019s imprisonment. A friendship with a duck gave Shoushtari the will to live when he was close to death in a people-smuggler\u2019s boat on the high seas.<\/span><\/p>\n

In the issue, the exponentially increasing numbers of cats in \u201cThe Felines that Leave Us, and the Humans that Left,\u201d<\/a> by Farnaz Haeri, translated from Persian into English by Salar Abdoh, has distant echoes of JD Vance\u2019s comment about \u201ccrazy cat ladies.\u201d But this is Tehran and a glimpse into a remarkably fluid, open household belonging to Haeri, an essayist and literary translator who has translated the novels of Haruki Murakami into Persian. Because of the political pressures in her country, people are often forced to leave or simply disappear. Then there are other pressures that can fracture families all over the world. In Haeri\u2019s case, it fell upon her, the single sister and auntie, to provide a safe and unusally lively haven for the growing number of pets and children who came and lived with her.\u00a0<\/span><\/p>\n

Cats are by far one of the most successful animal species on earth and people love them greatly. Izzeldin Bukhari, the vegetarian chef and founder of the Jerusalem-based Sacred Cuisine pop-up kitchen, contributes travel writing at its very best \u2014 humorous, suprising, capturing a keen sense of place. In \u201cThe Ballad of Lulu and Amina,\u201d<\/a> Bukhari\u2019s sister is getting married in Gaza. The conundrum is not only whether the Israeli soldiers will let a cat in a birdcage through the Erez checkpoint, but if Hamas officials will allow Bukhari and his sister\u2019s beloved feline into the Strip.\u00a0<\/span><\/p>\n

Birds<\/h4>\n

Pigeons are much maligned in Western cities; they are usually regarded as no more than \u201cflying rats.\u201d But on the wing they remain inspirational, and not just in the countries of the Middle East. Sometimes the sounds from homemade whistles, worn by pigeons, can be heard floating over the city of Beijing, and then fade away as the birds fly further afield. Homing pigeons in Amman can go for 20,000 dinars ($28,000 USD). There are class implications in the selling, breeding and flying of these birds. For enthusiast Yahia Lababidi, emotion runs deep. His hybrid essay, \u201cPigeon Love,\u201d<\/a> is part poetry, part paean, to the birds that make his hobby and life worthwhile.\u00a0<\/span><\/p>\n

Birds have long been a fascinating subject for artists and many from the region include them or have an affinity with them in their work, according to Iraqi curator Amin Alsaden. Certain texts stand as seminal animal poems and stories. One is <\/span>The Conference of the Birds<\/span><\/i>, also known as the \u201cSpeech of the Birds,\u201d written in 1177 by the Persian Sufi poet Farid ud-Din Attar, which Iranian poet and The Markaz Review\u2019s poetry editor <\/span>Sholeh Wolp\u00e9<\/span><\/a> reads online (W.W. Norton published her translation of Attar\u2019s <\/span>The Conference of the Birds<\/span><\/i><\/a> a few years ago). Equally significant have been the animal fables of <\/span>Kal\u012blah wa-Dimnah<\/span><\/i>, attributed to Ibn al-Muqaffa\u02bf from the eighth century. The illuminated manuscripts of these morality tales produced during the Persian, Mughal, and Ottoman empires show a level of sophistication, in word play and visual interpretation, not seen in the classical western versions of animal fables, Aesop.<\/span><\/p>\n

For The Markaz Review, Naimi Morelli in \u201cBeyond Our Gaze: Rethinking Animals in Contemporary Art<\/a>\u201d considers artists\u2019 reasons for the inclusion and depiction of animals in their work. For Khaled Hafez, \u201canimals function not as passive props but as lively embodiments of the many cultural and social contradictions that shape contemporary Egyptian life.\u201d Another Egyptian, the artist Wael Shawky, makes great use of animals in his puppet series, <\/span>Cabaret Crusades<\/span><\/i>, an adaptation of Amin Maalouf\u2019s 1984 historical study, <\/span>The Crusades through Arab Eyes<\/span><\/i><\/a>.<\/span><\/p>\n

As Morelli writes: \u201cBy turning to animals instead of humans, Shawky asks viewers to consider how cultures construct and distort the enemy \u2018other\u2019 in the telling of history, an observation with significant implications for understanding modern East-West relations.\u201d Another artist she writes about is Walid Raad. In his series, <\/span>We Have Never Been So Populated<\/span><\/i>, a right-wing Christian militia weaponizes invasive birds during the Lebanese civil war: \u201cTheir goal was to release these birds into enemy territories to disrupt ecosystems.\u201d Sounds a lot like those bothersome crows and the grudges they hold.<\/span><\/p>\n

In “Artists & Animals”<\/a> other artists use animals strictly as metaphors \u2014 for refugees and migrants \u2014 as in <\/span>A Proposal for Parakeets<\/span><\/i> by Adham Faramawy; or the last vestiges of a floating Palestinian presence in Hebron in Mohammad Saqdih\u2019s installation, <\/span>The Fish of Al-Khalil<\/span><\/i>. The Tunisian graffiti artist Ouma whose work also illustrates the animals issue has a special affinity with the owl and the wisdom the bird represents, while Iranian Tarlan Lotfizadeh reacts to the pig, an animal she had no experience of since she grew up in an Islamic country. The automation used in swine slaughter, and the color known as \u201cfairy tale pink\u201d of their skin \u2014 the artist duplicates by using some of her own blood \u2014 reminded Lotfizadeh of the people killed by the Iranian regime.<\/span><\/p>\n

Dogs in the issue also provide an occasion for evoking the supernatural. \u201cHabib\u201d<\/a> by Ghassan Ghassan takes its title from a pet\u2019s name. A bombing in Gaza destroys an entire family except for the protagonist of the short story and his beloved dog. While the people of Gaza have difficulty fleeing the war, there is a healthy trade in getting animals out \u2014 perhaps a metaphor for the lack of action on the part of Arab regimes. The main character and the dog almost get free, but \u201cHabib\u201d is an intriguing ghost story with a twist.\u00a0<\/span><\/p>\n

The pioneer of Kuwaiti fiction, Laila Al-Othman, contributes to the issue the short story \u201cA Market for Titles,\u201d<\/a> translated from the Arabic by Ibrahim Fawzy. It is a cautionary tale told from a sheepdog\u2019s point of view, like Mikail Bulgakov\u2019s novella, <\/span>Heart of a Dog<\/span><\/i>.\u00a0 Whether in revolutionary Russia or Kuwait, dogs can have a tough time especially if their owners are abusive. This poor Arab dog has to deal with a greedy woman criminal. He suffers greatly until he decides to take matters into not his own paws but his mouth.\u00a0<\/span><\/p>\n

Escape and Erasure<\/h4>\n

It was the graceful gazelle that populated the deserts of the Arab Peninsula which gave the Arabs the name for their best known lyrical form, the ghazal. These poems, usually about love, longing, or the metaphysical, were often song by Arab, Persian, Indian and Pakistani musicians. The language is poetic and sensual in Shadab Zeest Hashmi\u2019s short story \u201cGazelles Leaping,\u201d<\/a> which leaves the minds of reader in a contented state. The Pakistani-American poet has a great interest in Sufism, and in her short story, a mythical gazelle makes it to the moon, and eventually finds its way home again.\u00a0<\/span><\/p>\n

In \u201cThe Palestinian Gazelle,\u201d<\/a> artist, Manal Mahamid, meanwhile, created an entire exhibition around Palestine\u2019s beloved grazer. It became personal for her, she writes, when she went to the zoo in Israel, \u201cwhere I noticed a sign at a gazelle enclosure. In Arabic and English, it read \u201cThe Palestinian Gazelle,\u201d but in Hebrew, it was labeled \u201cThe Israeli Gazelle.\u201d This deliberate reclassification was more than just a change of words \u2014 it was an act of environmental violence, a clear attempt to overwrite a piece of the landscape\u2019s story. It echoed a broader policy of naming, erasing, and reassigning identities within the land itself.\u201d<\/span><\/p>\n

\"Maggie<\/a>
Maggie the giraffe at the London Zoo (courtesy London Zoo<\/a>).<\/figcaption><\/figure>\n

Speaking of getting home, getting back can be difficult to do. Last month, two blue-throated macaws \u2014 still in their infancy at two years old (macaws can live until they\u2019re 60) \u2014 were let out of their enclosure at London Zoo. Temporary escape was part of Lilly and Margo\u2019s regular exercise. Typically they would fly around Regent\u2019s Park and come back. This time they disappeared for six days. The zoo had issued an alert and the large, blue and yellow, long-tailed parrots were eventually discovered 60 miles away in someone\u2019s backyard near Cambridge. The birds\u2019 keepers were quickly dispatched there. When Lilly and Margo saw them they flew into their arms and were rewarded with pumpkin seeds and pecans. Animals, like humans, yearn for freedom; yet equally crave the comfort of belonging, friendship, and safety.\u00a0<\/span><\/p>\n

I had lived for 16 years in London before I started riding my bike to the zoo. It was during the terrible days of Covid, when people were dying and NHS doctors and nurses were wearing plastic trash bags for protection. I would stand on the street outside the gates in front of the giraffe house. The two giraffes that live there are sisters. Sometimes one of them, usually Maggie, because Molly was more reserved and stayed inside, would step through the plastic strips that hung over the very tall, opened stable door, and nibble at a cabbage that had been tied near the top of the building. She didn\u2019t have to stretch out her long neck to reach it. Watching the giraffes in the zoo somehow allayed my fears and left me strangely hopeful.<\/span><\/p>\n

Wikipedia draws from etymology dictionaries as well as Persian lexicon and language institutes, and provides the etymology of the animal\u2019s name. Giraffe:\u00a0<\/span><\/p>\n

originated in the Arabic word <\/span>zar\u0101fah<\/span><\/i>\u00a0(\u0632\u0631\u0627\u0641\u0629),<\/span> ultimately came from the Persian<\/span>\u00a0\u0632\u064f\u0631\u0646\u064e\u0627\u067e\u064e\u0627\u00a0(<\/span>zurn\u0101p\u0101<\/span><\/i>), a compound of\u00a0\u0632\u064f\u0631\u0646\u064e\u0627\u00a0(<\/span>zurn\u0101<\/span><\/i>, “flute, zurna”) and\u00a0\u067e\u064e\u0627\u00a0(<\/span>p\u0101<\/span><\/i>, “leg”).<\/span> In early Modern English\u00a0the spellings\u00a0<\/span>jarraf<\/span><\/i>\u00a0and\u00a0<\/span>ziraph<\/span><\/i>\u00a0were used, probably directly from the Arabic,<\/span> and in Middle English<\/span> jarraf<\/span><\/i>\u00a0and\u00a0<\/span>ziraph<\/span><\/i>,\u00a0<\/span>gerfauntz<\/span><\/i>. The Italian\u00a0form\u00a0<\/span>giraffa<\/span><\/i>\u00a0arose in the 1590s.<\/span><\/p>\n

The first long-legged ruminants brought to Florence wandered the streets and were fed onions by people from their balconies and rooftops.\u00a0<\/span><\/p>\n

For homo sapiens, the existence of animals can be a kind of therapy when they don\u2019t fall victim to the ills of a human-made world. I still visit the giraffes once a week. However, I\u2019ve made a new friend at one of the city farms. He stands over his woodpile and has the expression of someone composing poetry. I admire his serenity and creativity. The winter coat he is growing is soft and his name is Hamish. He\u2019s a pygmy goat.\u00a0<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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